Category: Reviews

Posted on by Lauren Katulka

“Find a Way” – Dana Gehrman

Brisbane’s Dana Gehrman creates the sort of music we don’t hear enough of these days. She has a cool bluesy sound that veers into rock, country, soul, and Americana. It’s perfectly punctuated with Hammond organs and slide and pedal steel guitars. And then there is that voice, so commanding with a sultry ease you instantly warm to. I hadn’t heard of her before listening to her debut album Find a Way, which is out today, but I’m an instant fan.

The album’s opener “Hands Tied” is the perfect introduction to her sound. It goes down so easily, but there’s a definite edge to the message. “24 Karat Rocker” could easily have come from Tom Petty’s catalogue. It’s perfect road trip music, with a vintage 70s sound that evokes rich nostalgia.
The album is mostly a party full of solid blues-rock numbers, but Dana shows her sensitive side in the title track “Find a Way.” It’s the album’s most poignant moment, a romantic track that shows she’s not all sass and strength. It’s not too long before she shakes off that vulnerability and is back grooving with us again though. Deep swampy cuts like “Howling Wolves” and “Grasshopper Creek” will please blues purists. A reprise of “Remedy” seems a little tacked on, especially after the powerful “Rogue Train (Rattle on By),” but it’s a good reminder than Dana’s music is really all about having fun.

Dana Gehrman feels like Australia’s answer to Sheryl Crow, an immense talent with an ability to effortlessly cross genres. Find a Way is an impressive debut from this superb Queenslander. She’ll bring its songs to music lovers at the following shows.

Image used with permission from This Much Talent

26-28 July 2019 – Echuca Blues Festival, Echuca
10 August 2019 – Phase 4 Records instore, Brisbane
17 August 2019 – Imperial Hotel, Eumundi
6 September 2019 – The Milk Factory, Brisbane

Posted on by Lauren Katulka

LANY @ Enmore Theatre, Newtown – 14 July 2019

Do you remember the excitement you felt at your first concert? The electricity in the air, the pure joy that came from seeing favourite performers create the music you hold so dear right in front of you? Live music has become a bit of a drug for me over the decades, but I’m not sure I’ll ever get the same high I did back in the early days. Now I choose the seats over general admission. While I try to make the support acts, and mostly do, I’ve been known to linger too long over a meal or drinks. Since I typically attend gigs with crowds around my age or much older, the way I experience concerts has mellowed. I didn’t realise how much I missed that “lose your mind” concert excitement until I saw LANY recently at The Enmore.

I’ve never felt so old at a concert. I’m not sure I was the oldest person there, but I’m sure I was the oldest person without a teenage child in tow. I marvelled at the way the young crowd packed out the floor area before Los Leo, the first support act, graced the stage and the way they screamed for the Adelaide opener. I’m not sure they were familiar with his music, but they were more than receptive to his synth-pop tunes. While he’s still a little green, his ‘80s influenced tunes are stellar. With a little more experience, I think he could be a real force.

My inner old fart grumbled at the thought of another support act. It was Sunday night, after all, and while the young audience might have been on school holidays some of us had to get to work the next day. I quickly forgot my reservations watching Robinson perform though. This talented Kiwi is an absolute superstar. Her voice is incredible and she has such a magnetic presence on stage. This woman can move! The room loved her, singing along enthusiastically to songs I didn’t know but quickly warmed to.

I thought the crowd was loud for the support act, but they showed they could reach 11 when LANY graced the stage. Deafening cheers gave way to an enthusiastic singalong of “Thick and Thin,” one of the biggest hits from their 2018 album Malibu Nights. That album was what brought me to the show. It was my favourite release of last year. I think it’s one of the greatest break-up albums ever recorded, so I was thrilled to hear so many of its songs make the set list. Long-time fans weren’t forgotten though, with just as many tracks from their self-titled debut also making an appearance along with a handful from earlier EPs.

Lead singer Paul Klein told the crowd this was the band’s 78th show of the year, an amazing feat considering we’re only just past the halfway point. You might expect a little fatigue to set in, especially with jetlag in the mix, but LANY’s set was one of the most explosive I’ve seen. Paul is such a charismatic front man, whether he’s jumping around during an upbeat number or taking a quiet moment behind the keys. I was absolutely mesmerised. This is no one-man operation though. LANY are one of the tightest bands I’ve ever heard, and that’s because of every person on that stage.

I once read music is the universal language. It crosses cultures and generations. I felt a bit like a fish out of water amongst the young things at LANY, but once the lights went down and we all started singing at the top of our lungs I realised I haven’t left my teenage self too far behind. Paul gushed about how much they love Australia and assured us they’ll be back soon. I will be too, perhaps the oldest in the room but happy to be so.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Gifted in Gold” – Dan Vogl

Winter weather is here, but Melbourne’s Dan Vogl has brightened my day with his debut EP, Gifted in Gold.

It might be his first offering, but Dan’s music has an appealing polish about it. While acclaimed Joel Quatermain has no doubt worked his magic, Dan’s own skill at creating ear-pleasing indie-pop can’t be overstated. His songs are so irresistibly catchy, with singalong choruses and toe-tapping beats. Vocally he reminds me of Gavin Degraw and Eric Hutchinson; there’s a compelling warmth to his delivery that matches the feel-good music perfectly. His songwriting is also top-notch, whether he’s being romantic in “Carousel” or “Poppy,” the songs that book-end this EP, or lamenting the daily grind the title track.

Gifted in Gold goes down easily. It’s the sort of EP you enjoy from the get go and want to listen to again as soon as it’s over. It’s the perfect introduction to Dan Vogl’s work and enticing glimpse into his potential. Dan will celebrate its release with an intimate show at The Penny Black on August 30.

Image used with permission from Good Intent

Posted on by Lauren Katulka

“Now I’m Ready to Start” – Sinclaire

Just a few weeks ago I was waxing lyrical about Sinclaire’s single “It’s Not Enough,” eagerly anticipating their EP. This Sydney band set the bar so high with that release. Could I possibly love the EP as much? The answer is a resounding hell yes.

Frankly, Now I’m Ready to Start has been what’s kept me sane over the last few days of work. I can’t remember the last time I took a day off and burn-out has well and truly set in. But this EP has lifted me up with its incredible songs.

According to front man Michael Cross, the songs draw from his own “mistakes, insecurities, and negative personality traits.” Those big issues provide the perfect fodder for songs that really connect with the listener. There’s a darkness to the lyrics, but Sinclaire wraps them up in such feelgood packages, with retro synths and driving drumbeats encouraging you to get up and dance your way out of the gloom. I can hear influences of The National, Phoenix, and our own Gang of Youths in the music. Yet the deeply personal nature of these songs ensures they retain their own identity.

Now I’m Ready to Start has just five songs, just enough to ensure each one is outstanding. Just enough to leave us wanting more. Sinclaire will officially launch Now I’m Ready to Start with two launch shows next month. Catch them at Greaser in Brisbane on August 1 and The Chippo Hotel in Sydney on August 3.

Image used with permission from Good Intent

Posted on by Lauren Katulka

“Gracefield Avenue” – Fields

She might be based in Perth now, but Fields’ music beats with an Irish heart. There’s a little Celtic yodel in her vocals and an intensity in the acoustic guitars anchoring half the tracks that takes me to Ireland. It’s no accident that her new EP is called Gracefield Avenue, after the Dublin street she grew up on. That title track is a beautiful nostalgic snapshot of youth which builds to a stirring stomp-along climax. It sets the scene for an EP that doesn’t shy away from sharing the artist’s story.

“Promises” is heart-breakingly raw as Fields’ reminisces about a relationship gone wrong. Her vocals are always on point, but they’re so strong here. You can hear her pain with every note.

I got to know “Neverland” when it was released as a single last year. I’m so glad this unique song has earned a place here. The EP provides a fantastic opportunity to revisit this unique song, which moves from a haunting delicate ditty to a frenetic acoustic-guitar that sweeps the listener up in its romance.

“Like That” showcases Fields at her most exposed, both musically and lyrically. With a sparse piano accompaniment and a small choir of angelic backing vocalists for support, her story of feeling love for someone, but not the romantic kind, is so affecting.

I’ve always appreciated Fields’ ethereal vocals, but with this release she’s shown some serious song writing chops. It’s an intimate, emotionally powerful EP that takes just four songs to make a real impression. See Fields showcasing songs from Gracefield Avenue at the following gigs here and abroad.

29 June 2019 – Stop the Violence, Sunflowers for Cara fundraiser, Burlington Hotel, Bunbury
3 August 2019 – The Workman’s Club, Dublin

Image used with permission from Firestarter Music

Posted on by Lauren Katulka

“In Bloom” – Maggie Slater

Sometimes an album connects with you from the first note, firing off the neurons in your brain that make you immediately fall fast. Others take a little longer. When I hit play on In Bloom, the debut EP from Maggie Slater, I thought it was lovely stuff. Nice and folky, the sort of pleasant music that would provide a good background for my morning work. But I didn’t get those neurons firing. Not right away.

Then I heard “Ballerina,” a poignant song about not feeling good enough in a relationship, about being lifted up by others and discovering your self-worth. It changed everything. I got it, and suddenly Maggie Slater’s music moved from the background into focus.

“Ballerina” is a standout song, but the whole of EP is really something special. It paints a moving portrait of a woman coming to terms with herself and her relationships with other people. It’s unflinchingly intimate, with lyrics that often feel like diary confessions, from the playful “Time Warp” and “Dog” to heavier moments in “Ballerina” and “I Want You.” “Grow” is the perfect closer, a track which encapsulates the EP’s theme of evolving and being “in bloom.”

Maggie Slater’s music suggests that so many of us, she’s still figuring it out. However, that’s precisely why it resonated so deeply with me. It’s very easy to appreciate her music on a surface level; she sings like a bird and her folk-pop-rock sound is very accessible. However, she’s also proved herself to be a master storyteller with a knack for crafting lyrics that really speak to the heart. In Bloom is a beautiful debut from this exciting singer-songwriter from Far North Queensland.

In Bloom is available on all your favourite digital platforms now. Catch her at the Neck of the Woods Music Festival in Townsville on June 29 and 30.

Image used with permission from Hot Off the Press

Posted on by Lauren Katulka

Megan Hilty @ Opera House, Sydney – 17 June 2019

I looked back at my first review of a Megan Hilty concert before writing this one. It’s been roughly three years to the day since she first wowed me with her show. Little has changed in terms of what Megan does, but this time around she’s doing it on a much grander scale.

Like the first tour, Megan’s set drew heavily from Broadway standards and the music of her own hit shows, Wicked on Broadway and Smash on the small screen. Like that first tour, “Heart of the Matter,” her Don Henley cover, seemed a little out of place. Yet again though, I could forgive that because it’s such a beautiful song. She even finished on the same song for the same reason. She’s played “Rainbow Connection” for her daughter at the close of each show since she was in the womb. It’s such a lovely tradition that I didn’t mind the degree of predictability the second time around.

The scale of this production really made this show something special though. Staging anything at the Sydney Opera House brings a certain level of gravitas. The 40-piece orchestra made songs like “Let Me Be Your Star” from Smash and Gershwin’s “Someone to Watch Over Me” really soar. Her beautiful sparkly dress, which would have been right at home on any red carpet, was so fitting for a show like this.

Now after three years and with so many shows in between, my memory of that first Sydney gig is a little foggy. So I can’t remember if she was so animated, so charismatic, the first time around. If she was, Megan, I apologise. But this time I was so struck by her charm. Whether she was joking about her time at university dying to land those lead parts or gushing about her love for our country, she was so warm and genuine. A beautiful voice is one thing, and she has that in spades, but charm like hers can elevate any concert experience.

The final element of any concert is the audience. Sydney, you outdid yourself. Megan was greeted with such rapturous applause she begged us to not make her cry. Not yet, not at the beginning. We sat respectfully for the songs, hanging on their every note, then erupted with appreciation when every one was done. I felt true electricity and appreciation in the room, and I’m sure she did too.

Monday was one of those concerts where everything came together so beautifully. Megan said she was anticipating this show for such a long time, so I hoped it lived up to her expectations. It certainly did for me.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Jack Jones @ Lizotte’s, Newcastle – 9 June 2019

Jack Jones insists he isn’t a nostalgic person. But on the 30-year anniversary of the reformation of his breakthrough band Southern Sons, he admits he’s looking back on their body of work with fondness. That affection he has for his early work and so much great music of the past made Sunday’s show at Lizotte’s a celebration of what could only be called nostalgia.

Decades have passed since the Southern Sons hey-day, yet the rapturous reception to the opening strains of “Always and Ever” are a testament to the place those songs still have in the hearts of the packed-out Newcastle venue. Stripped back and acoustic, Jack’s incredible voice really came to the fore. He’s lost nothing over the years. It wasn’t just the big hits that earned applause though. Album tracks like “Something More” and “Wildest Love” were received just as rapturously. I marvelled at the way the human mind works. These songs aren’t on Spotify and my cassettes have long since given up the ghost, so at least 20 years must have passed since I heard these songs. Yet I still found myself singing along to every word without missing a beat. I guess the music you listen to in your formative years really doesn’t leave you.

Jack punctuated the songs with tales of his own formative years in music and caught us up on his what he’s been doing since the band parted ways. He joked that there’s never a quick story where he’s concerned, and I sensed some of the crowd getting restless as he reminisced, but I hung on his every word. I’ve always felt like if you simply want to hear the music, you could stay home with a CD. Lizotte’s has always given audiences a little more than that, and I relished the opportunity to learn more than those Smash Hits magazines of my youth ever taught me.

While Southern Sons’ music was the focus, Jack also took time to celebrate the classics. “Norwegian Wood” and “Blackbird” were a nod to his recent Beatles tribute shows. Covers of over iconic songs including “Stairway to Heaven,” “Dear Prudence,” and “Satisfied Mind” were less predictable and greatly received.

I was just 10 when Southern Sons released their debut album, so I was too young to join in when they played the pubs and clubs in the ‘90s. This show gave me a chance to experience the music I loved, and then some, as I couldn’t before. Thankfully, I’m not done. When Southern Sons announced their reformation for the upcoming One Electric Day shows, I snapped up tickets for Sydney in the presale. Seeing Jack at Lizotte’s on Sunday put on such an amazing show has made me only more excited for the band’s return.

Image source: own photo

Posted on by Lauren Katulka

“Lonely Leaves” – PLTS

I love writing a music blog, but sometimes it’s a struggle. Sometimes you just want to listen to the album that’s currently revving you rather than sorting through the press releases and delving into the unknown. And sometimes you find a recording like Lonely Leaves, a release that’s so good that it makes you forget all about that thing you thought you wanted to listen to for the umpteenth time.

I’ve played Lonely Leaves for the last couple of days straight without putting my fingers to the keyboard. Why? Because once I did I’d have to move on, start sorting through the press releases and delving into the unknown again. Now this is the album that’s currently revving me.

Byron Bay band PLTS call Lonely Leaves an EP, but at seven tracks it feels more like a mini album. The songs explore feelings of nostalgia. Heartbreak and longing bookends the EP with “Without You” and the title track. But PLTS also know how to lift you up. “Young Ones” is an anthemic stadium rock banger about our youth. “A Play About the Ocean” soars. The frenetic energy in “August” perfectly captures a moment in time. The sombre “Silhouettes” is even more poignant coming after such an explosive track.

I’m waxing lyrical over these songs because there are no fillers. I’m hitting repeat constantly because there are no fillers. This is incredible stuff, accessible from the first listen but just a little more special with every subsequent play.

Lonely Leaves is out now. After recently supporting Dear Seattle, PLTS will headline their first shows in a year with a performance at Brisbane’s Black Bear Lodge on June 1 and another gig at Sydney’s OAF Gallery Bar on June 13.

Image used with permission from Macro Music

Posted on by Lauren Katulka

“Back in the Swing” – David Campbell

It’s no coincidence that David Campbell’s new album Back in the Swing dropped just before Mother’s Day. It’s just the sort of thing mums and grandmas across the country would love, the old standards delivered faithfully by one of Australia’s favourite breakfast TV personalities. This album is all that, but so much more.

Mother’s Day releases often feel coldly calculated. Put together a collection of songs Mum would love, get some inoffensive act to sing them, and wait for the cash to roll in. They’re pleasing enough to listen to, but they typically lack the heart and soul David puts into this and every one of his recordings. There’s an irresistible energy about his cover of “Buona Sera” and a flirty playfulness in his take on “Come Fly With Me.” “I Can’t Help Myself (Sugar Pie Honey Bunch)” isn’t a natural choice for an album of standards, but his jazzy version makes so much sense. I’m not sure anyone has recorded a more powerful rendition of “For Once in My Life.” But me, his cover of “In the Wee Small Hours of the Morning,” recorded with Aussie rock legend Ian Moss, is the standout. Their voices compliment one another beautifully and they feed off one another so well.

Mother’s Day might be over for the year, but Back in the Swing is actually climbing the charts again. It currently sits at number 10, three weeks after its release. Those strong continued sales are a testament to this album’s enduring appeal. It’s not just one for the mums, although I’m sure they’ll love it too.

Image used with permission from Sony Music Australia